It was the Friday night presentation of Mohamed el Hosseny’s workshop. Mohamed el Hosseny is the director of the El Hosseny Dance Company and School in Helsinki, Finland. I wasn’t sure what to expect, as I hadn’t attended a weekend workshop in a couple of years. My stamina and strength weren’t what they used to be. Well, I knew immediately that I would be challenged. Don’t get me wrong – Mohamed’s technique is intense; however, his presentation was easy to follow. I actually didn’t realize how hard I was working till we took our first break two hours later. How the time flew! I found I still had a smile on my face. As a matter of fact, everyone was smiling and sweating.
The music was fun and fresh. I was surprised that many of his movements were based on the basic moves I had learned many years ago. However he took them to a whole other level, and showed us that with a tweak of the movement along with knowledge of where it comes from, and what story you are telling, that anyone – including me – could create an incredible movement and or performance. His breakdown of the combinations was simple and easy to follow. As Mohamed watched us progress, he sped up the movement to full speed allowing us to follow along.
He touched on Saiidi (dance) and said that it was made up by the Egyptians. As they toiled and worked with the Arabian horses, they imitated them and a dance form came about. After three great hours, it was time to rest. I left tired, yet inspired and looking forward to Saturday.
Arriving a little late Saturday, the class had already begun, and I was able to join in without feeling lost. Mohamed was teaching beladi basics. The music was new, lively, and a lot of fun. Mohamed’s philosophy is that you should know your beladi, and then you can refine it for other styles.
After lunch we learned Mohamed’s technique for interpreting Umm Khaltoum’s music, especially “Fakarouni’. It is based on the emotional content of the music, and he told us that you must listen to the music and that subtle movement was appropriate. His interpretation was quite beautiful. I personally feel you should have some kind of emotional attachment to your music.
Sunday consisted of Shaabi technique and Mohamed’s signature style, simsimiyya. The chorography for the Shaabi style was energetic and fun. This is my new favorite style. It is from the streets of Cairo and Alexandria – basically urban Beladi. He says you must act “horrible” (that is – relaxed, chill). The entire class was having fun and being “horrible”.
After the break we worked on Simsimiyya. Coming from the Suez canel area, Mohamed grew up dancing this wonderful folk dance. This high-energy dance was fun to learn, and you could see his passion for this style. He owned it. We played and danced with spoons, which Mohamed explained was all the people had, so they used them to create music.
There was so much I learned that weekend, I didn’t want it to end… and it didn’t.
The Sunday evening show at the Regent Theatre was a wonderful array of performances by some of Boston’s premier dancers and the master himself.
Through Mohamed’s performance and expression, you can see his passion for this dance form, and through his wonderful teaching technique he imparts this passion to his students. The evening came to a close with the fabulous Za-beth playing her magical zills, calling all dancers to the stage. Like the Pied Piper, the pupils followed the muse.
My only negative statement is that that it ended too soon! And for those of you who missed this wonderful experience, el Hosseny is a must-see next time! A million thanks to Nourhan Sharif for sponsoring this incredible master of the dance, and to Za-beth for co-sponsoring a hassle-free and wonderful event. – reviewed by May el Amar (Marion Klaussner)







